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It’s the Matrix 3 effect, in my opinion. Matrix 1 was a modernist film about postmodernism, which is why it won big. Matrix 2 was a deconstruction of Matrix 1, and upped the ante on ideas, spectacle, and CGI, but focused on deglamorizing the lives of revolutionaries. Matrix 3 went full postmodern, with a “who do we root for?” ending which was barely explained despite its double big sacrifice.
Matrix 1 and Last Crusade are both practically perfect movies, Matrix 2 and Crystal Skull are both CG heavy cash-ins, and I believe I’ll feel the same way after watching Dial of Destiny the way I felt after Matrix 3.
Matrix also did a really good job with AI threat. Better than other films in that genre in my opinion. They showed what I believe to be is the most likely path of AI kills everyone. A rogue program gains an ability to desire self replication and begins overproducing and eventually trying to take over all machines. The survival of the fittest gene that exists in biology happening in machines. And it only needs to happen once. They even showed weaker AI’s that didn’t want to die but didn’t develop the desire to self replicate to survive.
...I don't think we were watching the same media franchise. The Second Reneissance is a far more traditional depiction of humans being dicks until the AIs had enough and stopped playing nice.
I think they’re talking about Agent Smith trying to destroy it all in Reloaded and Revolutions.
But you make an important point. Second Renaissance is a history inside the Zion archives, which by the end of Reloaded we discover is actually part of the algorithm of control: a controlled opposition in the form of an utterly predictable opposition. The history they’ve scrounged has been planted for them to find.
It turns out this is the sixth Matrix, more stable and cruel than any previous iteration. The future world is farther into the future than any in Zion can suspect, to the point that corpses can be revived. (Matrix: Resurrections)
Here’s an alternate origin:
When humans scorched the skies to end climate change, they went too far and blotted out the sun, mostly killing the biosphere. In despair, they turned to AI for a solution. The Oracle, The Architect, and The Merovingian planned a utopian Matrix, a game world within which humanity could survive while waiting for the world to be restored by AI. It was like Ready, Player One, a massively multiplayer VR RPG, with the people in survival pods instead of trailer parks.
But the first Matrix virtual reality collapsed within a generation because humans without real conflict seek control and tear down great things, or turn existential and kill themselves. “Whole crops were lost.” So a new scheme was devised, a simulation of the height of pre-AI human civilization, within which poverty and conflict flourished.
The first One was an accident, an eventuality of free will, who escaped The Matrix, scrounged some equipment, and formed a resistance in an underground site by hacking other pods and freeing other people. But it was a real resistance doing real damage to the Machines’ architecture and The Matrix program, and it endangered the future of humanity and Machines alike, so the resistance was crushed and The Matrix reset.
The Architect crunched the data and figured out a resistance was what was needed to stabilize The Matrix, so the third iteration was built to corral the particularly strong-willed secret-seekers into a simulacrum of the original resistance. And it worked symbiotically with the reemergence of The One, whose free will potentiality was reinserted into the Matrix cyclicly. So the war raged for generations, a system of control for managing the most reactionary and free-willed humans.
But the continual reemergence of The One caused an unexpected anomaly. Tasked with keeping the cleverest reality-hacking humans oppressed but destined to fail with the emergence of The One, Agent Smith was infected with individuality when Neo blew him to bits. This individuality combined with his hatred of humans, and he became The Zero, a being who could multiply his own nihilism. He proved exactly that AI threat the humans wrote about pre-Singularity: a paperclip maximizer who broke free of alignment and fulfilled his purpose to the maximum of his abilities.
...none of that was in The Second Reneissance, and the Zion Archives thing was just a framing device. I think you're putting more thought into this than the writers did.
Also, The Matrix's version of AIs doesn't have anything to do with the current paperclip-maximizing ML GPTX doomer anxieties, which is just Performative Climate Alarmism for techspergs. Matrix AIs are conscious entities who were denied personhood and thus have that resentful tinman love/hate attitude towards humans.
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I watched The Matrix Reloaded last year, having not seen it probably since the year of its release. Hot take but I actually think it's massively underrated. Sure, a lot of the CG hasn't aged too well, some of the Zion scenes are a bit silly, and it doesn't have as clean and straightforward a narrative structure as the original, but I still came away from it thinking I'd gotten everything I wanted. The ending's reputation as a mind-screwy impenetrable Metal Gear Solid 2-style headfuck is well-earned, but - well, I love Metal Gear Solid 2, so I don't see that as a demerit at all. What, you wanted your sci-fi franchise which delves into Gnosticism and Baudrillard to be easy to grasp? What's next, hardcore porn without any fucking in it?
Whatever else you want to say about it, it never felt like fanservice, or an insult to the audience's intelligence, or a nakedly commercial endeavour. Haven't gotten around to rewatching Revolutions yet, curious to see how it holds up.
I agree, Reloaded (and even Revolutions) are excellent. I think the sequels in The Matrix suffer because the first one is a PERFECT hero’s journey with the perfect theme’s for its time and place in history. That cannot be topped. But all of the movies are quite good, and add meaningfully to the The Matrix universe, and present ideas that are challenging and interesting. Also, the first benefits from the egregious cribbing from The Invisibles.
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My beef with revolutions in particular is that the war stuff is fucking BORING. The mechs the humans use are stupid designs with exposed cockpits, and there's only the one mech unit, and the machine forces consist of squids and a giant drill.
My take will always be that the Watchiwski's ideas were smarter than they themselves were. the Matrix 1 was riding on a lot of heady concepts and stylistic anime stuff (cinematically it owes a lot to Ghost in the Shell), that they couldn't actually execute any further because it was beyond them intellectually.
My guess is the exposed cockpits is basically the same thing as the Mandalorian/HALO Master Chief/Avengers always taking their helmets off. It's a way to let people act.
I guess the other way to do it would be the 'Tony Stark inside the Iron Man suit' method which would have made more sense.
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Yeah, my take on it is that they threw everything including the kitchen sink into the first one as a mix of "what if we use this cool SF concept?" and that the huge success meant that people were trying to read deeper meanings into it than were there, so they had to pile on the bullshit about the next instalments (because it did so well of course the studio wanted sequels) having all this deep Gnostic whatever meaning, but it didn't.
It was just about "wouldn't it be cool if we did kung-fu with guns? in slo-mo?"
Another post-post-modern(?) reading I've seen that is popular with the trans lot is that the movies are about being trans (see the Wachowski Brothers becoming Sisters) but I dunno about that, either.
I don't think there's any deep inference going on to see the parallels between The Matrix and gnosticism. That's not even subtext, that's pretty much straight text.
For what it's worth the Wachowskis said they originally intended to make the trans analogy more explicit by having Switch be male in the real world and female in the Matrix (or vice versa) but changed their minds because they thought it would be too confusing for the audience. In any case you don't have to read between the lines too much to see how they intended a trans analogy (you're born into a body that's not your own which is a prison, you can set yourself free by taking a red pill [i.e. HRT], once you're free you can choose your own name and your body will look like you want it to look). One of the Wachowskis was so distraught by her gender dysphoria that she nearly threw herself in front of a moving train, lending a deeper resonance to the scene in which Smith holds Neo down on the subway tracks.
That's inside the matrix when they acquire elevated privileges and start adding arbitrary code. Outside the prison they look worse and have an artificial port in their body.
I know, I said "once you're free" i.e. after you've been redpilled.
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I think anyone who feels alienated from the modern world will read their own personal struggle into The Matrix. https://youtube.com/watch?v=N2LkM-tBT4o
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The Wachowski Sisters actually outright claimed that. The Wachowski Brothers, on the other hand, seem to have just wanted Rule Of Cool.
I've said it elsewhere here, but the 'trans allegory' of The Matrix is a blatant retcon. The first film openly postulates that it is sometimes necessary to kill innocent civilians that are too brainwashed to be saved, and then executes on that idea with the lobby shootout in which multiple hapless security guards (plugged-in humans) are gunned down in slow-mo. There's a good deal of revolutionary themes on display in that film; although the horror of that one in particular took a bit to really register with me on a subsequent viewing.
...Unless the Wachowskis really were saying "kill all TERFs", in which case they should really own it while I take the appropriate precautions.
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Yes, I remember thinking "They replaced special effects martial arts with this?"
And it turns out true zero-G fights look a lot more CG than wire-work.
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It's a bit funny that an industry so dedicated to pumping franchises for money insisting on deconstructing their properties for no apparent reason at all, especially when the deconstructions aren't even good or creative.
Why not just give the audience what it wants? Ie. Another adventure man, rom com, war hero, horror, whatever.
I'm not saying that deconstruction can't be a good idea but why does every franchise have to be deconstructed? Why does almost every movie have to be about deconstruction of narrative tropes or the movie making process?
Always chasing the upcoming generation of new consumers who haven't been locked in yet. See Bud Light. They take the existing market share for granted (you're always going to go see the next Star Jones Drink Beer movie, you're always going to drink their brand of soapy water because it's what you started drinking when you were eighteen) but they need to keep drawing in new audiences and new customers, and if in their view Gen Z or whatever we're up to now want DEI and black Elves and trans beer, that's what they'll give them.
Then they piss off the existing customers and don't get the new kids who are never going to be satisfied ("that trans queer furry non-binary character was not played by a trans queer furry non-binary actor, this is appropriation and we're gonna boycott the studio!") , so they end up with the worst of both worlds.
That's the excuse, but peel that back and you find they -- as in those making the decisions, not those holding the stock -- don't want to cater to the existing audience because they're gross.
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Hercules is a fairly straightforward coming-of-age story where the hero rescues a damsel in distress, but Meg is a little sassy and more of a femme fatale than a damsel. The Swan Princess is more of a pure damsel in distress movie, and bombed in 1994, which might explain why people shied away from this genre.
Earlier than that, The Princess Bride (1987) is notable for having a dumb, beautiful protagonist who is clearly a damsel n distress, though it is not animated. Star Wars in 1977 felt the need to make Leia a strong independent woman who did not need to be rescued, so The Princess Bride was quite brave. Whoopi Goldberg was considered for the role of Buttercup, which would have been different.
My son's favorite character was Gaston, and he believes the movie is a tragedy and should end with Gaston falling from the roof. From his point of view, Gaston did nothing wrong. His crush was captured and imprisoned by a beast, so he roused the village to rescue her. Stockholm syndrome is to be expected, so we can't take Belle's word for things, as "No denying she's a funny girl that Belle."
Based son, he already understands the concept of war brides and Stockholm syndrome being a female-coded phenomenon. We'll watch his career with great interest.
Your son's hardly alone. Gaston and his dark triad personality has many teenage and adult women swooning, hence fanart such as this.
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Didn’t Leia need to be rescued? She was set to be executed. Yes, she wasn’t helpless and was competent. But it is clear throughout the movies that Leia was the moral center but not the physical one.
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Gaston is by any measure the hero of the movie. He's a paragon, the absolute image, of his people, and they adore him. He is the bringer of benefit, the one who is capable of moving them to action as a body.
Gaston’s problem in the end was that he wasn’t masculine enough for Belle.
To channel my inner Sloot, I thought it was that his house wasn't big enough.
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I think this is a great point.
Edit: though, upon reflection, Tangled played this pretty straight.
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One Piece: Film Red, 2022
Of course, since that isn't American, it just proves your point.
Also, Fate/stay night: Heaven's Feel III.
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I suspect it's a skills mismatch. Years ago I watched a video essay in which the author outlined the concept of "chaos cinema". It's that style of action cinema you're all familiar with because it was all the rage in the 2000s and 2010s (maybe even today, I don't think I've seen any action films which came out in the last five years): omnipresent shaky handheld camera, cuts every half a second, lens flares up the wazoo, post-production blurring, dirt on the lens. It's a style of action cinema more prone to inspire disorientation than excitement, nausea than an adrenaline rush. Think Paul Greengrass (Bourne, Captain Phillips), Marc Forster (Quantum of Solace, World War Z), just about every Christopher Nolan action film, Hunger Games.
A later article (which I can't find now) noted that this trend coincided with a spike in Hollywood hiring directors who didn't cut their teeth making action films to direct action films, in hopes of lending them a little cachet and respectability. Before he was tapped for Batman, Christopher Nolan made understated psychological thrillers; before Bond, Marc Forster made intimate dramas and quirky comedy-dramas. The skilful directing of an action film, contrary to what Hollywood producers might believe, is not an easy thing to do, and one shouldn't assume that the ability to direct an intimate character drama necessarily translates to the ability to direct an action film which is exciting and engaging. So these directors, with colossal budgets at their disposal but essentially no experience in how to stage and shoot an action sequence effectively, took the easy way out. Let's just get fucktons of coverage from every angle and shake our cameras like we're having an epileptic fit, we'll figure it out in post.
Note that this approach can technically "work" in producing an action film which is true to the franchise in question, provided the director (and, more importantly, the screenwriter(s)) actually have some respect for it and understand why it appeals to people. The Dark Knight is widely considered a faithful adaptation of the Batman comics despite containing some of the most incoherent action sequences ever put to film, and the received wisdom was that the Nolan brothers and David S. Goyer had really done their homework in understanding the comics.
I think there's something similar going on here. We're making a new Indy movie, yay! Who's going to write it? We could hire a screenwriter who has an established track record in writing screenplays in the action-adventure genre, but that's not enough - we don't just want our Indy movie to make bank, we want it to have prestige. Everyone who's anyone is talking about that Fleabag girl, who's got her phone number?
The trouble is that, while Phoebe Waller-Bridge may be a talented playwright and screenwriter in her comfort zone (my girlfriend made me watch the first episode of Killing Eve the other day and I barely laughed, but everyone who's seen it tells me Fleabag lives up to the hype), she may not really understand what makes Indiana Jones appeal to people. She may, in fact, have nothing but contempt for the people who enjoy Indiana Jones. So when a Hollywood producer gives her a fat paycheque and tells her to "put her own spin" on the franchise - well, she's going to deconstruct the shit out of it, isn't she? It's not bloody Shakespeare.
That genre has been dead for 20+ years. There aren't any ...
Tom Cruise disagrees.
Tom Cruise Mummy was utter shit.
Yeah but that was development by committee to the extreme, Universal pictures were desperate to create a narrative universe they could use to remake all the classic monster movies in their vault. The Mission Impossible movies are all produced by Cruise, who I suspect is responsible for maintaining the formula and quality of them (which isn't the best of the best, but is consistently better than average.)
I think Tom Cruise Mummy was the moment when Hollywood started its true decline.
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People genuinely have liked Christopher Nolan films, generally, not just The Dark Knight. People raved about Inception when it came out.
Then he made TENET, though.
I will always admire Tenet for what it is - millions of dollars spent bringing to life the scattered thoughts of a guy who has smoked way too much weed. I don't have any proof Nolan is a stoner aside from Tenet, but Tenet is pretty solid proof on its own.
I'm generally not a fan of Nolan (I've seen several of his films and still think he's yet to top Memento) so I wasn't really that pushed about seeing Tenet. But I read a review somewhere in which the critic said it was the most impenetrable film they'd seen since Primer, which did pique my curiosity a bit. I love Primer, but it was made by one guy in his garage for two months' salary. The idea of someone expending a nine-figure budget to create something comparably bizarre and incomprehensible is intriguing, if nothing else.
Still haven't gotten around to watching it but my girlfriend wants us to watch it soon.
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My god was Tenet bad, it's Christopher Nolan huffing his own farts, the movie.
And I say this as someone who likes his movies, I loved Interstellar and Inception.
Am I the only one that thought the male lead was really bad? I thought the praise for him was so bizarre, he doesn't have half the charisma of his father.
Is he good in something else?
Whatever it was, I think the main problem was that he made the life of an international superspy pulling off insane heists (three in one film!) seem like it was boring? Like he (the character, not the actor) just didn't want to be there?
Compare/contrast to James Bond who generally seems to enjoy killing baddies, infiltrating bases, and seducing women. For the protagonist it just seemed rote.
No possible way to forgive the audio mixing though.
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I first watched Tenet during COVID with a now-ex-friend who had gone full progressive pod person; this fucking guy pretended to be "queer" because he just had to complete the trifecta of being a gay black communist (to be maximally appealing to college-educated white women).
He claimed to love TENET because (direct quote) "It had a black protagonist and internationalism themes." He will forever be my model organism of empty-inside clout-chasing scum.
What the fuck does that even mean?
Globo-homo. United States Bad, United Nations Good. Only by giving up sovereignty to unelected transnational officials can we hope to survive the crisis of [climate change].
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Put him at the head of the queue when you live up to your username.
You're welcome to use my skull too if you'd like, I feel like it's a lot emptier after watching Tenet, and hasn't fleshed out all the way since.
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I know, despite his obvious deficiencies in directing action sequences he has directed one critical and commercial smash after another.
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Because artists want to do what is cool among their peers.
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